View full screen - View 1 of Lot 91. Circle of Francesco Battaglioli, Architectural capricci | Entourage de Francesco Battaglioli, Caprices architecturaux.
91

Circle of Francesco Battaglioli

Circle of Francesco Battaglioli, Architectural capricci | Entourage de Francesco Battaglioli, Caprices architecturaux

No reserve

Reserves

Estimate:

10,000 - 15,000 EUR

Circle of Francesco Battaglioli

Circle of Francesco Battaglioli

Circle of Francesco Battaglioli, Architectural capricci | Entourage de Francesco Battaglioli, Caprices architecturaux

Circle of Francesco Battaglioli, Architectural capricci | Entourage de Francesco Battaglioli, Caprices architecturaux

No reserve

Estimate:

10,000 - 15,000 EUR

Lot sold:

11,970

EUR

Circle of Francesco Battaglioli

Architectural capriccio with a palace and a fountain 

Architectural capriccio by the sea


A pair, both oil on canvas

(i) 96,2 x 128,8 cm ; 37⅞ by 50¾ in. ; (ii) 96,5 x 128,3 cm ; 38 by 50½ in.


(2)

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Entourage de Francesco Battaglioli

Caprice architectural avec un palais et une fontaine 

Caprice architectural avec bord de mer


Huile sur toile, une paire

(i) 96,2 x 128,8 cm ; 37⅞ by 50¾ in. ; (ii) 96,5 x 128,3 cm ; 38 by 50½ in.


(2)

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Please note: Condition XVI of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. (Veuillez noter que l'Article XVI des Conditions Générales de Vente applicables aux Vendeurs (Ventes Effectuées Exclusivement en Ligne) n'est pas applicable pour ce lot.)


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Clearly produced around the mid-eighteenth century, these two impressive oil paintings may be attributable to the Venetian painter Francesco Battaglioli (1725-1796), who was originally from Modena.


He was trained in Venice, where he began his career in about 1750, but he also travelled to Madrid where he worked as an architectural and perspective painter for the Spanish Crown. Returning to Venice, he continued to pursue his career until he died at a great age in 1796.


These works, which are of fine quality, are imposing in their format and their balanced compositions. Their intricate, sometimes imaginary juxtapositions of architecture open up or close perspective views that hold or prolong the viewer’s gaze. This theatrical approach to architecture reflects Battaglioli’s fame as a designer of stage sets.  

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Exécutées de toute évidence vers le milieu du XVIIIe siècle, ces deux impressionnantes huiles sur toile reviennent peut-être au peintre vénitien originaire de Modène Francesco Battaglioli (1725-1796).


Celui-ci, qui se formera et débutera sa carrière à Venise autour de 1750, se rendra également à Madrid où il travaillera comme peintre d’architecture et de perspective pour la Couronne espagnole, avant de revenir à Venise où il poursuivra ses activités jusqu’à sa mort en 1796, à un âge très avancé…


De belle qualité, ces œuvres s’imposent par leur format et par leurs compositions équilibrées, par l’enchevêtrement parfois fantastique des éléments d’architecture qui ouvrent ou ferment les perspectives, arrêtent ou prolongent le regard du spectateur.


L’on y retrouve cet aspect théâtral de l’architecture qui fait écho à l’activité de Battaglioli en tant que célèbre concepteur de décors de théâtres…